The interaction between nonconformism and reality

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The interaction between nonconformism and reality

Masliakova A.

Ph.D. in Art Criticism (St. Petersburg), Doctoral Researcher Faculty of Philosophy

Kyrgyz National University named after Jusup Balasagyn (Bishkek, Kyrgyztan)

Abstract: at all times there were scientists and artists whose work was not recognized by the general public. And this article is dedicated to the consideration of this very phenomenon. nonconformism modern art dialog

Keywords: nonconformism, modern art, dialog, destruction, preservation.

It is a well-known fact that the atmosphere of the epoque is reflected in the creativity of the artists living in this or that particular time. And more often than not, their perception of the World does not coincide with the generally accepted views. It suffices to compare the dark colors and distorted proportion of the objects depicted in Oscar Rabin's paintings (for example, “City with the Moon” and “Train”) with the bright color palette of the paintings of the so-called social realism style. Let us mention in this regard “Noon” by Arkady Plastov.

Irina Antonova, the former director of the Pushkin Museum in Moscow, in her book called “About Art and Life. Conversations in Between” writes that in those days many artists, such as Pavel Filonov, Aleksandr Labas, Nadezhda Udaltsova, Alexander Tyshler, etc., were labelled as formalists for, allegedly, there was no realistic reproduction of the World in their Artworks but the departure from it [1]. And yet, despite all the odds, in 1966 they did manage to organize a retrospective exhibition of Alexander Tyshler's creativity [2]. And not long ago, in 2022, there was another exhibition dedicated to that very artist.

As for the Marble Palace in St. Petersburg, it houses very fine examples of Modem Art belonging to the German collectors Peter and Irene Ludwig, who generously donated their collection to the Russian Museum in 1994. And I presume that it is especially indicative that the exhibition dedicated to the underground masters of the 1960s-1980s has been presented in the very same building -- on the third floor of the Marble Palace, right above what is known as the Ludwig Museum [3].

On the one hand, exploring the exhibition, one may notice that the nonconformists were inspired by a wide variety of artists and styles, such as Antiquity (Dmitry Plavinsky's “Mirage in the Aegean Sea”), ancient Russian literature (his “Old Russian Manuscript. Triptych”), Pablo Picasso's collages (Vladimir Nemukhin “Composition with Guitar”), etc. Looking at “Light Fields” by Igor Vulokh (se e Fig.

1. ), one cannot shake off the feeling that Kazimir Malevich's “Red Cavalry” is about to appear on the horizon. “Gothic” Artworks of Dmitry Krasnopevtsev remind of the late period of Andre Derain's creativity, while the paintings by Leonid Purygin ha ve something in common with the style of Hieronymus Bosch, meaning that he also fills his paintings with otherworldly creatures. Not to mention the works of Art dedicated to music, for instance, Vladimir Yankilevsky “From the Series `Theme and Improvisation'” and Vladimir Nemukhin “Dedication to Bach”.

Yet, on the other hand, they do not copy but rework those ideas in a new way, paying special attention to details. And if one looks closely, one may notice that Dmitry Plavinsky applied fragments of musical t ext onto his “Mirage in the Aegean Sea” and used a mixed technique in his “Old Russian Manuscript” so as to create an illusion that we are dealing not with a painting but with an ancient artifact (see Fig. 2.).

Interestingly enough, their desire to go beyond the permitted aesthetic norms is combined with the impulse to preserve the memory of the past. For example, Vladimir Nemukhin creates “Composition with an Old Bucket”, and it seems to me that his “Departing Objects” has nostalgic vibes (see Fig. 3.). An d if Vladimir Nemukhin in his “Coffee Table No. 5” cuts the canvas (see Fig. 4.), Evgeny Rukhin, on the contrary, imposes a seal on the “wound” and ties a bow in his painting “Yes No” (see Fig. 5.).

Moreover, cultural interaction between the Artworks of the past and the present day visitors is complemented by the dialog between the Artworks themselves. That is to say, the two parts of Platon Infante's video installations called “Parallels” (see Fig. 6.) and “Parallel Singularities”, accompanied by Nikolai Karetnikov's music, exist in continuous interplay with each other.

The exhibition reaches its climax in the last room, where the artists' desire to break out of the Earth's orbit becomes especially evident. The entire space of Leonid Purygin's painting “Giraffe-Elf” is airy, as if it was made of ether through which one can see the faces of the otherworldly creatures (see Fig. 7.). Whereas Leonid Lamm goes even further and starts erecting the City of the Future in the painting called “Building Space Using Planes”. And it seems to me that Grisha Bruskin in his whimsical white sculptures under the title of “Germs. Space” continues that endeavor and develops an image of the people who will live there (see Fig. 8.) [4].

To sum it up, development is an integral factor for progress both in science and Art. And although advanced ideas do not always immediately find the support of the majority, this does not mean that one should dwell on what has been achieved. History shows that sooner or later time puts everything in its proper place, which is confirmed by the success of the exhibition of nonconformist artists presented at the Marble Palace.

REFERENCES:

1. Антонова, И.А. Об искусстве и жизни. Разговоры между делом. М.: АСТ, 2003, 328 с.

2. Легенда Пушкинского музея: 5 знаменитых выставок Ирины Антоновой, accessed March 4, 2023, https://ria.ru/20130701/830233286.html

3. Parallel Universes. From Abstraction to Artefact. The Collection of NataliaOpaleva, accessed March 4,2023, http://en.rusmuseum.ru/marble-palace/exhibitions/parallel-universes-from-abstraction-to-artefact-the-collection-of-natalia-opaleva/

4. Nonconformism, accessed March 4, 2023, https://youtu.be/qAszPF j4wk

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